This transcript was automatically generated and might contain errors.

[0:00] Kevin David Thomas: Dear friends, we are so sorry about the ads. They are a nightmare in every way, but with your donations, we can get rid of ads someday.

[0:09] Robert W. Schneider: Beautiful, Kevin. Thanks, Rob.

[0:11] Kevin David Thomas: Falk and Harnick are smiling so big right now. Friends, yes, we are back with a new plea. Much like those adorable puppets from Avenue Q, we are asking for you to give us your money.

[0:23] Robert W. Schneider: For those of you who have headed over to Patreon to throw a little money our way, we thank you so much from the bottom of our hearts. Your contributions are the only budget we have for this show, and it provided us a new soundboard and better studio space, so a thank you.

[0:35] Kevin David Thomas: Thank you. And as you know, nothing is more fulfilling than talking to the legends of Broadway and hearing them share their thoughts, wisdom, and talents with all of us. However, it does cost money.

[0:45] Robert W. Schneider: And if you want to help us keep the show going, please head over to Patreon.com. That's P-A-T-R-E-O-N.com. Search for BEHIND THE CURTAIN, and you can give as little as a dollar a month. And trust me, that dollar will help us more than you will ever know.

[1:00] Kevin David Thomas: Plus, for certain monetary donations, you will get to pick your favorite thing and have advanced knowledge of our future guests, so you can ask the legends your own questions. Or you can simply leave canned goods and an original cast recording of How Now, Dow Jones outside our doors if you don't want to contribute on Patreon.com.

[1:18] Robert W. Schneider: Truth. So once again, please head over to Patreon.com. That's P-A-T-R-E-O-N.com to help us out. Thanks.

[1:24] Kevin David Thomas: Thank you.

[1:26] Robert W. Schneider: Hi, I'm Rob Schneider.

[1:27] Kevin David Thomas: And I'm Kevin David Thomas.

[1:28] Robert W. Schneider: And this is BEHIND THE CURTAIN, Broadway's Living Legends. Don't forget to follow us on Twitter at BroadwayCurtain, and make sure to join our Facebook page at BehindTheCurtain, Broadway's Living Legends.

[1:38] Kevin David Thomas: And follow us on Instagram at BroadwayCurtainPodcast. Plus, you can always listen to our podcasts on Broadway World and Stitcher.

[1:44] Robert W. Schneider: If... I like that line reading. Do it again.

[1:47] Kevin David Thomas: And Stitcher.

[1:47] Robert W. Schneider: That's it. If Kevin and I had one wish for all of our fellow artists out there, it is that you may all be so lucky to be in a rehearsal room with today's guest. She is the epitome of what every artist should be. Intelligent, talented, fiercely dedicated to the craft, and treats every opportunity to tell a story, no matter the venue or size of the role, as if it was a precious gift bestowed upon her.

[2:08] Kevin David Thomas: Which it is.

[2:09] Robert W. Schneider: Oh, it is. While she has stacked up countless regional credits, she is best known to Broadway audiences for her appearances in 42nd Street, both times, Crazy For You, Show Boat, The Civil War, Mama Mia, The Drowsy Chaperone, sorry, for which she won a Tony Award, Young Frankenstein, Elf, Baby, It's You, Bandstand, and later on this season, The Prom, for which we have a feeling she may get another Tony.

[2:34] Kevin David Thomas: Tell us what it was like to work with such legends as Jerry Orbach, Charles Strauss, Mike Ockrent, Bobo Lewis, and how she learned never to encore I've Got Rhythm at an audition. Here is the one and only Beth Leavel.

[2:47] Beth Leavel: Wow, what an intro.

[2:49] Kevin David Thomas: Oh my gosh, you were saying something.

[2:52] Beth Leavel: You lost me at Stitcher.

[2:54] Kevin David Thomas: What is that?

[2:55] Beth Leavel: It's like a platform for podcasts.

[2:57] Kevin David Thomas: Who knew?

[2:58] Beth Leavel: I know. Again, my learning curve. Thank you for the tutorial.

[3:01] Kevin David Thomas: Well, I certainly will once I figure out what you're talking about.

[3:07] Beth Leavel: I don't know. You were saying something like the legendary something, something is here. And I just wanted to go, she couldn't be here today. But her evil twin, Beth Leavel, is here to misbehave and tell stories.

[3:18] Kevin David Thomas: Lucky us.

[3:19] Beth Leavel: Lucky me. OK, so let's start. Tell us this I've Got Rhythm story.

[3:23] Beth Leavel: Oh gosh, really?

[3:24] Kevin David Thomas: Yes, we're going to start there.

[3:25] Beth Leavel: So I, you know, I noticed today if I'm coaching or around the younger children that they have these astonishing books. They're like four inches thick.

[3:34] Kevin David Thomas: Yeah.

[3:37] Beth Leavel: Oh yeah. I'm like, what is this book which you are showing me? And in this book, they have their gifts all notated.

[3:46] Kevin David Thomas: Organized.

[3:46] Beth Leavel: Organized. So back in the old days, when I moved to New York, I was just pulling it out my pants. So I went to dear friends of mine, Leslie Eberhardt and David Levy, and we just started singing tunes because I didn't really have an audition song. And they came up with this song. I don't know if you've heard it called I Got Rhythm.

[4:09] Kevin David Thomas: Rings a bell.

[4:10] Beth Leavel: Does it? Anyway, but they did. They notated it. So the chorus, I just like held the C. I'm like, ah, just forever. Like Johnny One Note.

[4:18] Kevin David Thomas: Kind of like Johnny One Note.

[4:19] Beth Leavel: And I would probably do a little comedy in it. I don't remember.

[4:21] Kevin David Thomas: Oh, I can't imagine.

[4:22] Beth Leavel: What? And it kept getting me work. Because sometimes if you have 36 bars, I would put that in there or even 18 bars. Well, I was just using it over and over again. And I went to some summer stock audition. And I can't remember the director, but we had crossed paths. He was very kind. And he's like, hi, Beth. How are you doing? I was like, hi, whatever your name is. I don't remember. It was like, oh my gosh. Um, you're not going to sing I Got Rhythm, are you? And I went, no. In my imaginary book, no. I was like, oh, God, I have nothing else. Note to self. Sometimes you can just kill a song. So I now have a book.

[5:03] Kevin David Thomas: You do?

[5:04] Beth Leavel: Well, sort of. Yes. Just in case.

[5:07] Kevin David Thomas: Right.

[5:07] Beth Leavel: Yeah. You know what songs that I've learned that speak to me that I don't have to memorize. So that was the I Got Rhythm.

[5:15] Kevin David Thomas: Memorization being the key thing for you.

[5:17] Beth Leavel: Exactly.

[5:18] Kevin David Thomas: Good for you.

[5:18] Beth Leavel: Good for you. Yeah. What's in that book? I'm so curious.

[5:21] Beth Leavel: Well, it's kind of like what I started with my 54 Below show.

[5:24] Kevin David Thomas: Oh, yeah.

[5:24] Beth Leavel: And now, so that's my book. So if I need to sing something, it's like, here's what I know. Pick one. These are your options. These three songs are what you have to choose from. Enjoy yourself. Good luck.

[5:37] Kevin David Thomas: Where did you grow up?

[5:38] Beth Leavel: Raleigh, North Carolina.

[5:39] Kevin David Thomas: Raleigh, North Carolina.

[5:41] Beth Leavel: Yes.

[5:42] Kevin David Thomas: How did you discover theater in Raleigh, North Carolina?

[5:45] Beth Leavel: Slowly, really slowly. This was back in the 70s and 80s. And I went to high school. And I remember being asked, what do you want to do when you grow up? And there just wasn't the opportunities that there are now to experience theater in Raleigh, North Carolina. Now, oh, my gosh, there's so much art and theater and touring companies. But back then, it was just really nothing. And my parents weren't of the mindset to let's search out something. I was just like an oddity. So literally, my senior year in high school, my dear friend, Jan Lee Herndon, hello, shout out, says, why don't you audition for the spring musical? She's this glorious dancer. And I was like, the what? She's like, it's a musical.

I mean, I kind of knew, but it was Brigadoon. And lo and behold, I auditioned and got the role of Bonnie Jean. And I just remember being in high school, you rehearse for what, four months before you do two shows. And I just remember, right? No, we did. We really did. It's like two hours a day. So for two performances, and we knew we were going to tour. I was like, oh, we are touring this in the southeast. This is so good. But I remember being in the room and that light bulb went off. Like, who are you people? And what is this? And how in the world do I jump into this pool and stay? But I didn't know what to do. So I went to Meredith College, and I have a degree in social work counseling. Come in really handy.

It's fancy, right? Really handy. Come on, everybody could use that. And I had a teacher, Linda Bamford there. So I have a minor in theater from that college, because there was no such thing as a major there is now, of course. And I did every piece of theater I could get my hand on. I did an Ionesco at the cafeteria. I did No, No, Nanette. I did Applause.

[7:40] Kevin David Thomas: Which you choreographed.

[7:41] Beth Leavel: Which I choreographed. I choreographed Applause, too. I did. I was the only person who... Anyway, yes. She went, you can choreograph? I'm like, sure. Which is essentially storytelling with no dance skills. So I tried to do the best I could. And I had taken three years of tap at Betty Kovac School of Dance. Thanks, Betty. Thank you so much for my mother making me do that. And then at the end of that, with her pushing and just knowing that there was such a curiosity, a fire in me. It's like, what do I do with this? My parents are going, just get over it. Just get over it. Because they wanted me to, I don't know, eat. Be a social worker. Be a social worker. Have a family. Get married. Be quote, unquote, normal.

But I wasn't happy with that. So I literally, I was way too chicken to move to New York. So I immediately segued and went and got my MFA. Went to grad school. Went to grad school at University of North Carolina at Greensboro, which was probably two of the best years of my life. To be immersed in all...

[8:35] Kevin David Thomas: And you studied theater.

[8:36] Beth Leavel: Theater.

[8:37] Kevin David Thomas: Yeah.

[8:37] Beth Leavel: I have an MFA in acting and directing because that's all you could do. And I, after that, I had no excuse. And that, I left. I went and got my equity card doing an internship at what is now a defunct Pennsylvania stage company in Allentown, where I was born.

[8:53] Kevin David Thomas: Really?

[8:53] Beth Leavel: Peggy Sawyer's from.

[8:54] Kevin David Thomas: I know.

[8:56] Beth Leavel: And then I had my little equity card in hand and got on the bus.

[8:59] Kevin David Thomas: So you were like straight up like Peggy Sawyer.

[9:02] Beth Leavel: Pretty much. Except that you weren't from, but you were coming from Allentown.

[9:04] Kevin David Thomas: With no dance skills.

[9:04] Beth Leavel: Yes. But I thought I had dance skills.

[9:06] Kevin David Thomas: That's a different story.

[9:08] Beth Leavel: Yeah. Well, I had a tap vocabulary. Just I wish, I wish I had stayed with the dancing a little longer. It would have made life a little easier back in the day when you went into a room and you had to go to a dance call. I went to, when I first, if I may steal the story.

[9:23] Kevin David Thomas: Go.

[9:24] Beth Leavel: Oh, when I thought I was still a dancer, there was a huge open call for cats. And back in the day, I don't know if they still do this anymore. You actually were in the winter garden sitting.

[9:36] Kevin David Thomas: I don't think so.

[9:37] Beth Leavel: I don't think it's too expensive.

[9:39] Kevin David Thomas: We love hearing stories of auditioning on the stage.

[9:41] Beth Leavel: Literally at the winter garden. I was in my leg warmers, maybe a headband. I don't remember.

[9:45] Kevin David Thomas: I hope so.

[9:46] Beth Leavel: I hope so. I blanked that day pretty much out. I remember signing up and you would go up in groups of 20 or 30 and learn a piece of the combination.

[9:56] Kevin David Thomas: Was it already running at the time?

[9:57] Beth Leavel: It was running.

[9:57] Kevin David Thomas: So you were on the set as well.

[9:58] Beth Leavel: Yeah.

[9:59] Kevin David Thomas: Oh, wow.

[10:00] Beth Leavel: So I remember sitting in the back row. I had filled up my card and just watching the real dancers up there. And I must have sat there for an hour trying to get enough courage. And I'm like, girl, you're going to make a fool of yourself. Do take your leg warmers and that sweatband. And I slowly, trying to be as invisible as I could, stepped out of the theater.

[10:27] Kevin David Thomas: You did.

[10:28] Beth Leavel: And you ducked out.

[10:29] Kevin David Thomas: Oh, there's no way I could have done it. There is absolutely no way. I mean, it's really difficult. I then realized that I'm a singer who moves well and I do pretty good storytelling.

[10:39] Beth Leavel: Right.

[10:40] Kevin David Thomas: Yeah, I'd say so.

[10:40] Beth Leavel: I can't. I have no technique whatsoever. So that was like note to self. Don't do that. Just don't. You can never be in cash.

[10:48] Kevin David Thomas: Even though you were in 42nd Street twice.

[10:50] Beth Leavel: Well, yes. The facts are facts. And that's a miracle. That first, my first audition, I walked in and again at the theater and I was so green and I walked in in my pink fuchsia skirt that my mother had bought me. So and literally at the Majestic, there was a row of, I'm not sure if it was David Merrick, but I know it was Mark Bramble and Michael Stewart and all of these people and a ghost lamp still on stage. And I walked in and thank goodness. They made me sing first. And yes, I did think I sang. I got rid of them.

[11:26] Kevin David Thomas: Oh yeah, you did.

[11:26] Beth Leavel: Oh my God. Maybe that was the first time.

[11:28] Kevin David Thomas: It's your greatest hit.

[11:28] Beth Leavel: Yeah, maybe. It's a great hit. It's my only hit. And I and then I read the sides and I think Michael Stewart liked my comedy so much. And I, you know, I can sing a tune. And then they asked Gower's assistant Karen Baker to come up and show me the Anytime Annie tap break. I remember looking at her feet going, thinking. So I took out my yes, my Walkman. And I taped her feet making the noise and I would go flat shuffle hop step because I like I said, thank goodness I knew part of the vocabulary. And I did not do a good job. But they wanted they gave me a call back. And it was essentially if you learn this tap dance, please come back in five days. So I rented my husband at the time was a tap dancer or, you know.

[12:22] Kevin David Thomas: Yeah, he was.

[12:23] Beth Leavel: So we rented member Harlequin.

[12:25] Kevin David Thomas: Oh, I remember that.

[12:27] Beth Leavel: The porn shop and the Harlequin.

[12:29] Kevin David Thomas: Oh yeah.

[12:30] Beth Leavel: We're the Howard Johnson's used to be. Yes. Went up there on that crooked floor. Old school. And that guy would be like, let me see if I have a room and open up. Worked my ass off. And I came in and I got it. And I went out on the national tour for eight months in the role of Anytime Annie. Opened up on Broadway.

[12:52] Kevin David Thomas: Oh my goodness.

[12:54] Beth Leavel: And so I moved into it after eight months and I stayed for four years.

[12:57] Kevin David Thomas: Oh my God.

[13:00] Beth Leavel: I know.

[13:00] Kevin David Thomas: Four years.

[13:01] Beth Leavel: Four years. Nothing else better was coming along. It's like I had a job. It was the 80s.

[13:06] Kevin David Thomas: It was the 80s.

[13:08] Beth Leavel: And plus, during that four years, they took the Broadway principles and the ensemble from the bus and truck. We met at the Expo in Vancouver, British Columbia. Merged the two companies together and went to Japan and filmed it.

[13:23] Kevin David Thomas: Yes. Remember that?

[13:24] Beth Leavel: Yes. Every once in a while, you'll see this.

[13:27] Kevin David Thomas: Was Leroy in it?

[13:28] Beth Leavel: Yes. Leroy was in it.

[13:29] Kevin David Thomas: He was one of our first interviews way back when.

[13:31] Beth Leavel: Leroy was in it. Carol Cook. Jamie Ross. A lot of it's on YouTube.

[13:36] Kevin David Thomas: Really?

[13:36] Beth Leavel: Oh, please. It's all over YouTube.

[13:37] Kevin David Thomas: Oh yeah.

[13:38] Beth Leavel: Come on. Well, maybe I watch it every night.

[13:56] Robert W. Schneider: Welcome back to Behind the Curtain: Broadway's Living Legends. Today, we have the incredible Beth Leavel with us, a Tony Award-winning actress whose career has spanned some of the most beloved shows on Broadway.

[14:26] Kevin David Thomas: Beth, it's such a pleasure to have you here. Your energy is just infectious!

[14:56] Beth Leavel: Thank you so much! I’m thrilled to be here. I love talking about musical theatre and sharing stories from my journey.

[15:26] Robert W. Schneider: You’ve had such a diverse career, from 42nd Street to The Prom. What has been the most rewarding part of your journey in musical theatre?

[15:56] Beth Leavel: Honestly, every show has its own special moments. But winning the Tony Award for The Drowsy Chaperone was a highlight. It was such a unique experience, and I felt so honored to be recognized for my work.

[16:04] Kevin David Thomas: That’s amazing! Can you tell us a bit about what it was like to create that role?

[16:12] Beth Leavel: Absolutely! The character was so much fun to play. I got to bring a lot of my own personality into it, and the music was just delightful.

[16:20] Robert W. Schneider: You’ve also worked with some incredible directors and choreographers. Who has influenced you the most in your career?

[16:30] Beth Leavel: I would have to say Casey Nicholaw. His vision and creativity are unmatched. Working with him on shows like Elf was a game changer for me.

[16:40] Kevin David Thomas: What was it like to work on Elf? It’s such a beloved holiday show.

[16:50] Beth Leavel: It was a blast! The energy of the cast and the joy of the music made every performance feel like a celebration.

[17:00] Robert W. Schneider: You’ve also been part of shows like Mamma Mia! and Crazy for You. How do you approach each new role?

[17:08] Beth Leavel: I try to find something personal in every character. It’s important to connect with them on a deeper level, so I can bring authenticity to the stage.

[17:16] Kevin David Thomas: That’s a great approach. Speaking of connections, how do you feel about the community aspect of Broadway?

[17:24] Beth Leavel: The Broadway community is like a family. We support each other, celebrate each other’s successes, and it’s a wonderful environment to be part of.

[17:32] Robert W. Schneider: You’ve also had the chance to work with some amazing co-stars. Any memorable experiences you’d like to share?

[17:40] Beth Leavel: Oh, so many! I remember working with Bobo Lewis, who was just a joy. Her spirit and talent were inspiring, and we had such a great time together.

[17:48] Kevin David Thomas: It sounds like you’ve built some lasting friendships along the way.

[17:56] Beth Leavel: Absolutely! Those relationships are one of the best parts of this career.

[18:04] Robert W. Schneider: Let’s talk about your upcoming project, The Prom. What can you share about that experience?

[18:12] Beth Leavel: I’m really excited about it! The show has such a positive message about acceptance and love, and I think audiences will really connect with it.

[18:20] Kevin David Thomas: It sounds like a perfect fit for you.

[18:28] Beth Leavel: I hope so! I love being part of shows that make a difference.

[18:36] Robert W. Schneider: You’ve had such a rich career. What advice would you give to aspiring performers?

[18:44] Beth Leavel: Stay true to yourself and never stop learning. The journey is just as important as the destination.

[18:52] Kevin David Thomas: Wise words! Thank you so much for sharing your insights with us today, Beth.

[19:00] Beth Leavel: Thank you for having me! It’s been a pleasure.

[19:08] Robert W. Schneider: And thank you to our listeners for tuning in. We’ll see you next time on Behind the Curtain!

[27:54] Beth Leavel: She, I wanted to be her. This independent, successful, fabulous woman. She was like a super feminist and I just wanted to be around her so I could just steal whatever DNA she could, you know, teach me. I just really loved her. She taught me a lot about the city and about acting and about being a professional.

[28:17] Kevin David Thomas: How did you two link up?

[28:19] Beth Leavel: 42nd Street.

[28:20] Kevin David Thomas: Yeah.

[28:21] Beth Leavel: Yep, 42nd Street. She did the tour of 42nd Street. You know, the stories she had.

[28:26] Kevin David Thomas: Yeah.

[28:27] Beth Leavel: She was Carol Channing's understudy.

[28:29] Kevin David Thomas: Oh, my God.

[28:30] Beth Leavel: Oh, wow.

[28:31] Kevin David Thomas: Oh, gosh, check that. I think that's right.

[28:33] Beth Leavel: No, it's Bibi Osterwald.

[28:39] Kevin David Thomas: Oh, yeah.

[28:40] Beth Leavel: I'm wrong.

[28:41] Kevin David Thomas: That's okay.

[28:42] Beth Leavel: Bibi Osterwald was also one of these strong, powerful, autonomous, successful women that I was like, oh, gosh, fearless. Both of them, Bibi Osterwald and Boba Lewis. Boba did it in New York. Bibi was on the road. Oh, I just really loved being around them. I really did. You know that first, your big job, you're just like, oh, you just love everybody.

[29:02] Kevin David Thomas: Oh, yeah.

[29:03] Beth Leavel: Soak it all up.

[29:04] Kevin David Thomas: That company is still really close.

[29:05] Beth Leavel: And the older mentor.

[29:06] Kevin David Thomas: Yeah.

[29:07] Beth Leavel: They're still close.

[29:08] Kevin David Thomas: Yeah.

[29:09] Beth Leavel: You still talk to people from it?

[29:10] Kevin David Thomas: Yeah.

[29:11] Beth Leavel: I just had a reunion like three years ago.

[29:12] Kevin David Thomas: Oh, fun.

[29:13] Beth Leavel: So she was a mentor for you. Who else did you have? Or was she the primary one?

[29:17] Beth Leavel: She was the primary one.

[29:18] Kevin David Thomas: Yeah.

[29:19] Beth Leavel: But each show you would go into as a younger performer, I would always look up to whoever was next and whoever was going to teach me or who I admired as a performer and try to figure out why, why does, what are they doing that is so satisfying to me listening as a theater goer? Yeah.

[29:35] Kevin David Thomas: Did you have any interactions with either Jerry Orbach or David Merrick?

[29:39] Beth Leavel: David Merrick, no. By the time I got to 42nd Street, he had suffered a stroke. So it wasn't quite this. But he was still there. Like when we went to Vancouver, he was in Vancouver.

[29:49] Kevin David Thomas: And his wife, I think, took care of him a lot.

[29:51] Beth Leavel: Yeah.

[29:52] Kevin David Thomas: Was his name the Asian lady? I forget.

[29:53] Beth Leavel: I can't think of her name.

[29:54] Kevin David Thomas: Doesn't matter.

[29:55] Beth Leavel: But yeah, so I didn't really get to know him very well. Jerry Orbach, I did, but only maybe a month with Jerry Orbach. He was so kind.

[30:02] Kevin David Thomas: Yeah.

[30:03] Beth Leavel: But our paths never crossed that month. But I remember he was just driving that train. He was driving that 42nd Street train, you know. So that was, I was in the room with him. It was great.

[30:14] Kevin David Thomas: How does Crazy for You come into your orbit?

[30:16] Beth Leavel: Wow. That luck.

[30:18] Kevin David Thomas: You had a couple auditions for that one.

[30:20] Beth Leavel: Seven.

[30:21] Kevin David Thomas: Yeah.

[30:22] Beth Leavel: Seven auditions. Speaking of mentors, you know, Susan Stroman and Mike Ockrent.

[30:25] Kevin David Thomas: Yeah.

[30:26] Beth Leavel: Yeah, seven auditions. I came in. Oh, gosh, I hope I didn't sing I Got Rhythm, but I could have.

[30:31] Kevin David Thomas: I'm trying to think. Was it before the shaming?

[30:36] Beth Leavel: I mean, it really wouldn't make sense that you would sing it for, of all shows.

[30:38] Kevin David Thomas: Oh, maybe. That's right. So maybe I gave myself permission.

[30:40] Beth Leavel: You'd be like, bam, I got the perfect song.

[30:42] Kevin David Thomas: And watch what I do with it.

[30:44] Beth Leavel: And in that room also was Paul Gimignani.

[30:50] Kevin David Thomas: The great music director.

[30:51] Beth Leavel: Oh, I would just hang on his every word.

[30:55] Beth Leavel: So I went in and I was auditioning for Polly. Got a callback, got a callback.

[31:01] Kevin David Thomas: I mean, seven times. That's a lot.

[31:04] Beth Leavel: That is a lot. And then I went down and did Hello, Dolly! at North Carolina Theater. And then I had to fly back up for another callback. And in that time, I wonder if he remembers this, William Ivey, who's all along, is also from North Carolina.

[31:18] Kevin David Thomas: Yeah, he's one of our first guests.

[31:19] Beth Leavel: Yeah, he does. That's right. He goes there a lot. I think we're actually probably related somewhere.

[31:23] Kevin David Thomas: You're welcome.

[31:25] Beth Leavel: He met me at my apartment and wanted to help me look my best for the final, final callback. We went to Macy's. He, David Lawrence, and I went to Macy's going, try this on, try this on, try this on, try this on, try this on. Got a complete outfit. So grateful. Went back to my apartment. David did my hair, my makeup, gotten me in a cap, and I went to the final audition. Didn't get it.

[31:48] Kevin David Thomas: But I look good.

[31:49] Beth Leavel: I bet. But I think Julie Hughes and Hughes Moss.

[31:53] Kevin David Thomas: Yes, Barry Moss.

[31:54] Beth Leavel: Barry Moss. Were so kind to me and believed in me so much that I remember hearing, whether this is true or not, at the casting roundup or whatever, liking me so much that they kind of created Tess, the role I ended up doing.

[32:09] Kevin David Thomas: I believe that.

[32:10] Beth Leavel: It was kind of, the role really wasn't on the page. So they offered me Tess and to stand by for Jodi Benson. And it was like, absolutely. And I was in the room with Stroh and Mike Ockrent and Harry Groner. And yeah, it was really, it was lovely.

[32:29] Kevin David Thomas: That, wow, to be in a room with that, those smart, creative minds.

[32:36] Beth Leavel: I remember the first rehearsal down at, oh, what's the, 890.

[32:40] Kevin David Thomas: Yeah, the famous Michael Bennett Studios.

[32:42] Beth Leavel: Yes, walking in and me not a dancer. And the role kind of was a dancing role. Sort of a dance show. Damn it. That's why they made me the dance captain, which is code for dance captain, stand on the side. But I walked in the room and there were girls standing on pickaxes with guys holding them, thinking I'm going to be fired. It was so cute because I'm not a dancer dancer. There was one point where we're supposed to be kicking the mining pans over our head. Like, I can't get my leg up that high. But I remember Stroh kind of going down the line going, can you do a split? You do a split. You do a split. And she got to me and was like, you can't do a split, can you? It's like, no, ma'am, I cannot.

But I can do one heck of a half split. So if you look at some of the pictures, everybody's leg are split and I'm like in a lunge. With lots of face, but just just a lunge. And she let she let me embrace that sensible lunge. OK, then. Boy, I learned a lot in that show. It was so thrilling. It was my first original show.

[33:47] Kevin David Thomas: Yeah. And then we got such spectacular reviews to the energy around that show.

[33:53] Beth Leavel: It's exciting when you're part of a show like that in the business. It's thrilling. It's really thrilling.

[33:58] Kevin David Thomas: It's thrilling.

[33:59] Beth Leavel: Let's talk about my God, Chris, for a minute, because we try to always bring him up.

[34:03] Kevin David Thomas: Good. He left us way too soon, way too soon.

[34:06] Beth Leavel: What's it like being in a rehearsal room with him? Him as the captain of the ship. A, he's amazingly smart. B, he leads with kindness, kindness and humor. And yet all the work still gets done.

[34:18] Kevin David Thomas: Yeah, I remember our out of town tryouts were at the National Theater in Washington. And the day before we went down, they completely destroyed us.

[34:26] Beth Leavel: Oh, which could be a lot of drama.

[34:29] Kevin David Thomas: Yeah. And it was like he was so excited about it. He and Ken Ludwig say that, yep, it's not working. This is not working, darling. So we're going to we're going to do a whole new act to like, OK. And we would have done gone anywhere. He asked us to that team. And they were right. They were right. They fixed act two. They threw out this huge, very expensive number. And so to be in the room with him was safe. He was so smart. And there was a lot of laughs. And, you know, me, if you want to get work out of me, if you want my higher creative self to come in, if you make me feel safe and I laugh, I'll go anywhere you ask me. I will go anywhere you ask me. And he was like that.

[35:10] Kevin David Thomas: So special.

[35:12] Beth Leavel: I know. I know. I know. Well, thanks for sharing. Yeah. And I love when I'm down at 42nd Street Studios. You know, there's one rehearsal room dedicated to his.

[35:19] Kevin David Thomas: Yes. I always say hello.

[35:21] Beth Leavel: Yeah. And thank you. It's important memory and it's important legacy.

[35:24] Kevin David Thomas: Yeah. Exactly.

[35:25] Beth Leavel: It is. Yeah.

[35:26] Kevin David Thomas: Exactly. Yeah.

[35:27] Beth Leavel: I was grateful.

[35:28] Kevin David Thomas: How long were you with Crazy for You?

[35:30] Beth Leavel: Until I got pregnant. So almost three years, two years, maybe. I know I stick in shows. I just stick in shows.

[35:34] Kevin David Thomas: I just stick in shows.

[35:36] Beth Leavel: I just stick in shows. I was the breadwinner at the time, too.

[35:40] Kevin David Thomas: Yeah.

[35:41] Beth Leavel: So, you know, you're getting as you're getting paid.

[35:43] Kevin David Thomas: Right.

[35:44] Beth Leavel: There's a thought. Yeah. That's what we set up. Signed up to do original. I mean, so I stayed until I could no longer lay on my stomach in bad news. Go away. I'm like, oh, like, what's wrong with that chorus, girl? Like rolled out of the car.

[36:01] Kevin David Thomas: And then I was planning on going back into the show, you know, after San Juan. And I got a call from from Susan Stroman going, what are you doing? And I said, well, I'm eight and a half months pregnant. And then she asked me, could I go into showboat as a replacement for Ellie May? So I went into that about three weeks after I'd had a C-section.

[36:20] Kevin David Thomas: Oh, oh, my God.

[36:22] Beth Leavel: That's right. Work is work.

[36:24] Kevin David Thomas: That's how we do it.

[36:25] Beth Leavel: That's how we do it. Opportunity. Knock in. You don't say I'm busy.

[36:29] Kevin David Thomas: I'm loud.

[36:30] Beth Leavel: I'm loud.

[36:31] Kevin David Thomas: I'm loud.

[36:32] Beth Leavel: I'm loud.

[36:33] Kevin David Thomas: I'm busy.

[36:34] Beth Leavel: I'm lactating.

[36:35] Kevin David Thomas: I'm lactating.

[36:36] Beth Leavel: Let's get into the room.

[36:37] Kevin David Thomas: That must have been quite.

[36:38] Beth Leavel: You're a young mom. I'm at an age in my life where a lot of my friends have children.

[36:44] Kevin David Thomas: Sure.

[36:45] Beth Leavel: And I'm thinking of what a mother goes through. And yet you're performing in a show at night, every night, eight shows a week. That must have been a crazy time.

[36:52] Beth Leavel: It was a crazy time. It's all a blur. And showboat, which was not an hour and a half musical. It was not. It was down at like four of 11. And we were commuting from New Jersey. But there was a lot of us young mothers in that. I met my best friend during that show, Anne Van Cleef. And it was the first time I was able to work with Hal Prince.

[37:08] Kevin David Thomas: Right.

[37:09] Beth Leavel: Who, you know, it had opened, so he wasn't there that much. But yeah, it was thrilling. It was an opportunity. A, I pay the rent, so I can't turn down work. Right. And I try to tell my children, particularly Sam, the one that was born right before showboat, they used to come in and meet me every matinee day. And he spent part of his childhood, his babyhoodness, running up and down the aisles at the Gershwin Theater.

[37:37] Kevin David Thomas: Oh, my God.

[37:38] Beth Leavel: And on the showboat. And TJ, my older son, the crew was so nice at the Schubert Theater, would let him ride the car, let him go up and down in the hydraulics. Like the ultimate playground. I'm like, do you know how lucky you are, children? You don't even know. You have no idea how many people would really love that opportunity.

[37:55] Kevin David Thomas: What happens after showboat?

[37:57] Beth Leavel: After showboat is Civil War.

[38:01] Kevin David Thomas: It was.

[38:02] Beth Leavel: That did happen. That was a musical.

[38:04] Kevin David Thomas: Yes, because I remember Sam being that big.

[38:06] Beth Leavel: Civil War, even though it didn't run that long on Broadway, we went to the Alley Theater.

[38:10] Kevin David Thomas: Yeah.

[38:11] Beth Leavel: And then we went to New Haven. So it actually turned out to be a chunk of a job that morphed every time we turned around and did it.

[38:20] Kevin David Thomas: The piece itself morphed.

[38:21] Beth Leavel: The piece itself. Well, they kept trying to figure out what was it.

[38:24] Kevin David Thomas: Right.

[38:25] Beth Leavel: What is this? Just one reminder, listeners. This is the Frank Wildhorn Civil War that was basically about the North and South. And, I mean, I saw the tour that happened after the Broadway, so I'm sure it was a completely different incarnation.

[38:35] Kevin David Thomas: Very different.

[38:36] Beth Leavel: But basically it was about exactly what the title says.

[38:38] Kevin David Thomas: Exactly.

[38:39] Beth Leavel: Essentially. But initially it started out, and I think they tried to hold on to that. It was based on a series of letters written by family or people in the war. It was beautiful. It was almost like a concert piece. And Frank and Greg and all these. I can't think of another person's name. Had all taken these beautiful letters and musicalized them. Story told with these. It's some of the most beautiful music I've ever heard. Like Bill. I don't know if you've ever heard of him.

[39:09] Kevin David Thomas: Oh, yeah.

[39:10] Beth Leavel: Oh, my gosh. And Tell My Father.

[39:12] Kevin David Thomas: Yeah.

[39:13] Beth Leavel: But it didn't work. When we got to New York, I think they thought they needed to make it more of an event. So we added fight choreography and uniforms. And ultimately it closed. And this is when I believe he had three shows running. We had a whole press event. All of us in costume at the St. James.

[39:35] Kevin David Thomas: That's right.

[39:36] Beth Leavel: I remember that. Yeah, that's right. So good for him.

[39:39] Kevin David Thomas: Did you know it wasn't working when they started adding that stuff?

[39:44] Beth Leavel: I know you can take kind of a litmus test of the energy in the room. And then when we started getting audience members, it's like something is not working. You could tell.

[39:52] Kevin David Thomas: Yeah.

[39:53] Beth Leavel: And by then, I don't think they knew how to fix it.

[39:57] Kevin David Thomas: How do you keep yourself positive in that situation?

[39:59] Beth Leavel: A, I get paid to do it. Yeah. B, I'm always positive in that situation. I just tried to make what I was tasked to do the best I could. And it's truthful. And I knew that my bit of the story was needed. I had a very funny song about a woman who lost her five sons. I'm just kidding. It was like so sad. Which was really interesting because that's not the part I'm usually cast in.

[40:24] Kevin David Thomas: I know.

[40:25] Beth Leavel: So I remember at one point, the creative teams like Frank Wildhorn and they were all coming up to me going, You're a hoofer? They had no idea of my past stuff. They hired me based on my audition. Oh, my. So I thought that was valuable to me to actually play the woman who has to cry throughout an entire song.

[40:42] Kevin David Thomas: Was this your first principal contract too?

[40:43] Beth Leavel: No, Anytime Andy is a principal.

[40:45] Kevin David Thomas: Oh, Anytime.

[40:46] Beth Leavel: And so was Tess.

[40:47] Kevin David Thomas: Ha, ha, ha.

[40:48] Beth Leavel: No, bam, third one. Second original show, which I'm so sorry we never did a cast album.

[40:54] Kevin David Thomas: Dang it.

[40:55] Beth Leavel: I know. Wait, I was going to say something. I'm sorry to interrupt you.

[40:58] Kevin David Thomas: Yeah.

[40:59] Beth Leavel: That's okay.

[41:00] Kevin David Thomas: No, no, no. Please.

[41:02] Beth Leavel: Oh, please. Oh, I know. I know. So I had this song called Five Boys. Yeah. Sang at the Alley Theater. So they start readjusting things. And when I get to New Haven, they neglect it. Tell me. And we start rehearsal. And we start to sing the song. And it starts. It's like 16 bars. And it stops. I'm like, oh, oh. And they went, oh, Beth, didn't they tell you? We've cut that number. And I remember thinking, my feelings are hurt. I went, can I leave the room for a minute? Yeah. And I had to go have my feelings. And I came back in. I was like, okay, okay. Of course, they added it back when we moved to the St. James. Yeah. But not the whole thing. Sometimes, even if you think it's wonderful, if it doesn't serve the author's intention and doesn't do what the story needs to do, it has to go. It's gone. But that was the first time my feelings were ever really hurt like that. I was like, what am I doing wrong? It's like nothing, nothing.

[41:51] Beth Leavel: We don't need it. We don't need what that story, that song was doing. That's Civil War. That's a tough lesson. It was tough. It was the first time I'd ever heard cast on stage please. Cast. When there's a company meeting at half hour, cast on stage please. We never like those words. We never like those. We never like those words at all. We never like those words since they're not planned. And it's always bad. We look at the numbers. We know. We know. We look and see out in the audience, empty seats. We hear what's happening around us in the community. And they announced that we were closing that weekend. The worst end of way to go. Wow. No time to plan. No time. I mean, you're just like, that's the ugly side of show business.

It really is. And then the next show was, I don't remember. Oh, the revival of 42nd Street. Again, I did, but in different parts I did. I was thankfully too old to tell. So I was cast. Oh, I remember thinking, oh, I have to get a job. I remember I was cast to stand by for Mary Testa and Christine Ebersole. Amazing. And then you eventually took over Dorothy Brock. I did. I did. I did it for about a year, maybe a year and a half. And then Shirley Jones came in and they asked me not to come back in a very kind way. I was at Disney World taking a vacation and I get, you know, you get off the plane like message, message, message. It's my agents. Just so you'll know before you see it on the blah, blah, blah.

I was like, oh, you know, it was that time they started needing to bring stars in. Not just worker bees. Exactly when that happened. And they were like, they made a big thing out of it as they should have. But I remember TJ had like a toy in his hand at Disney World. I was like, put it down. We cannot afford it. Put it down. Let's go. We're having potato chips for lunch. Look at that. All right. Let's go.

[43:41] Kevin David Thomas: Bless. How does Drowsy Chaperone come into your orbit?

[43:45] Beth Leavel: Oh, after 42nd Street. I know there was something on Lone Star Love. All right. No, that was way back then. The Off-Broadway show. I just love giving a shout out to Lone Star Love. But it's just a wild little. I always liked that piece. It was a little weird and funky. Very singular. Yeah. It was like a country folky version of Merry Wives of Windsor. Right. Correct. Yeah. The Red Clay Ramblers did. Yes. You know. Yeah. And that and that you did the Off-Broadway. Then they tried to bring it to Broadway from a tour with Randy Quaid. But that was not what you did. That was a different experience that I heard was singular. Yeah. Yes. But I just had to give a little shout out to Lone Star Love. Thank you.

Thank you. Thank you. What was that? I think Drowsy. I don't remember. I remember having an audition for Drowsy. Yeah. This was right after Casey had won Spamalot. So he 2005. Thank you. Yeah. And I went in and it was one of those. You know him at this point. I did. Because he was in the ensemble of Crazy for You. And we used to carpool together. Oh, my God. That's why. Back and forth from Jersey. Yeah. So they asked me to come in and Drowsy Chaperone. The role I was reading for Beatrice Stockwell wasn't one of those roles that's on the page. Yeah. So it's kind of hard to audition for because I don't think the creatives knew who she was. Much less us. So you just kind of literally brought in what you whatever your essence was and threw it up against the wall. Was it a full show at this point? Because can you tell a quick little background of how this piece got started?

[45:19] Beth Leavel: Yes. It was initially written as a wedding, a bachelor party gift. It's a Canadian thing. Yeah. So and it went. But it was sort of fully realized up there during that. And it was so good that they just started refining it and refining it. Then it went to another theater up in Toronto and I think a big boy theater in Toronto. And that's where the American producers are literally like Bob Martin, Janet Vandegraaff. That's their name. That's literally is their names. Like, I know we know this, but I just our listeners. It's fun to know that it is fun. Isn't that awesome? It's like, hey, this is Janet Vandegraaff. Oh, yeah. Like it was really pleasant and it really was just for fun. But these are really great writers who actually are really good at this.

So these American producers get wind of it and it ends up being in the Nymph or NAMT. Yeah. Sorry, I can't remember. And what's the one that has a very strict time limit? Yeah, NAMT. It was NAMT. So apparently urban legend has it. I was not there. I was not doing it. That it got to the end of the allotted time and the being, you know, and the audience demanded, demanded that it go on. Yes. I love that urban legend. I hope that's true. I really hope that's true. Bob Martin, tell me if that's true. I think it is. So I went in and auditioned. And I brought in I did not sing I Got Rhythm. I sang something else because I didn't even really know what to sing off the page. So I just brought in a comedy story that had a comedy song that had kind of a story to it.

I love songs that have a beginning, a middle and an end. If they let me sing the whole song, which they did. And I read the, you know, the sides, which, again, weren't that much to kind of get into. Two weeks later, I get a call from Casey and I he's like, I'm so sorry, you didn't get it. I mean, I know I don't really think I'm the person to bring this to life. He went, yeah. He went, thank you. You're great. Blah, blah, blah. They went from what I hear. They went to L.A. and auditioned like Hollywood. I could see that. I think thinking that those that was the type they want. Tina Louise. Yeah. I mean, like those kind of, you know, dames of all that work. Right. I get it. Well, anyway, still, you know, wasn't fitting Circle Square.

So they came back to New York, held auditions again, and I think they just finally gave up. So I get a call. This is October. I get a call from my agent going, oh, I have an offer for you, which, you know, we love offers. Like no audition only. I'll take it. And he said is for the role of Beatrice Stockwell and Drowsy Chaperone. And I corrected him. I said, no, no, no, I didn't get that. Isabelle. But no, no, no. So I made him call back and he said, yeah, you got it. You leave next week for a three month stint at the Amundsen Theater in Los Angeles. And when we got to Los Angeles, that's when it really all came together. It was amazing. We did improv games. You did tell us about this rehearsal process.

I heard you had to write biographies. You know, a lot of people do that, particularly if you don't know who. And again, such an original piece, just to root somewhere, give you something to hold on to. So we all wrote biographies, which I didn't really. That was my least successful thing because I just didn't know who she was yet. I would write a different one now. But what really informed me was Casey said, OK, the rest of the week, we're going to start two hours every morning with, you know, theater games. I was like, great theater games. But that's where I discovered her. There was a game called Hot Seat. And like the third day into it, we had written our bios and we'd watched a lot of movies just so we all stylistically be on the same page.

And the energy and the pacing and stuff like that. So for the hot seat, the person, your character would come out and sit in a chair and everyone else, the creative team and the rest of the cast would throw questions at you as your character. And you just had to respond. Listen and respond. Listen and respond. Boy, does that train you. Brilliant. You know, the first two times it was OK. The third time I came out, Casey said something like which he hadn't said before. He went, ladies and gentlemen, Dame Beatrice Stockwell. And that made me feel something. And then I came out and all of the creatives and the cast stood up and started yelling and cheering. And I did this bow all the way to the floor.

And I thought, there she is. Bingo. There she is. And from that point on, then I saw Greg Barnes costumes and I knew exactly the house I was supposed to live in. And then you have this completely collaborative team and, you know, Danny and Sutton and Georgia and Lenny and Jennifer are just amazing, amazing, amazing room to be in. Wow. It's not like a really magical experience. It really was. It was really hard. It was terrifying because we had no idea. The show starts with I hate theater. Right. In the dark. And I remember we were doing backup singers. So a whole line of us were sitting on offstage mics, the very first preview thinking we have no earthly idea if this is we think it's funny and clever and smart.

And then we just heard the waves of love and laughter and leaning forward the entire night to eat all of this show that they could. Yes. I was a member of that audience. I saw four or five times. It was truly I will go on record saying is one of I would say it is the funniest musical I've ever seen. I would go. And it was such an impression in my life. And yet, you know, this because so many people have said. But it was it was like we went to go. We went in the audience because I thought I need to laugh today. I know. So you would go and it was I am man in chair. Really? Yes, exactly. And that's why that it was so universal in this period way. And yet it just proves that you can make a creative original story that is effective, that will resonate. You know, anyway, you were going to maybe say, no, I have a question for you. You said if you could redo her bio now. Yeah.

[51:17] Beth Leavel: Well, now I would have information about like I was kind of making up things about my mother and father. Now, I know that I pretty much lied my entire life and maybe I've enhanced, you know, my resume a time or two. And maybe I was just really lucky to absolutely do what I do as opposed to skill and have a blue blood heritage. I do not indeed. So what's it like to find out you're nominated for a Tony?

[51:48] Beth Leavel: Oh, my gosh. I'm just thinking about that, you know, each year just makes my heart flutter this time of year, knowing what everyone is feeling and the good news, the bad news, the energy. And it was I tried so hard because Drowsy was the last show that opened that year, May 2nd or something. And literally it was just crazy land with the press and the press events that we had to do. And I remember just running from event to event. So somebody went, oh, good luck. The nominations come out tomorrow. And I'm like, what? Oh, shit. Really? OK, just let it go. Just let that go. Whatever. You know, case or a case or a didn't. I really tried to sleep. My husband at the time woke me up the next morning crying.

Oh, and he said, you've been nominated. And he said, but so is Danny. And we were like, And then the phone starts ringing and it doesn't kind of stop until never. Well, yeah. And then when you win and you did, then it's even more so. Yes. So what's that like when the name is actually called?

[52:53] Beth Leavel: You can imagine one of the things segue with me to Baby, It's You. When I was nominated as a the show wasn't nominated. Right. So I could actually sit in my seat and see what I had missed the entire time of Drowsy. See the event like walk a red carpet and enjoy it. But with Drowsy, because your show was nominated, we had to do a number. Right. Which means you don't get. No, I got there. Ready at the theater. You get ready at your theater. I got ready in the theater in fancy clothes, did the red carpet and then went right upstairs and changed into Beatrice Stockwell. Make up, make up. After the Drowsy performance, you run back up there, you get in Beth dress again. And I remember somebody wrangling me.

I sat down. It must have been ten minutes before my category was announced. And they know the Wrangler knows she got to be in that seat by then. I mean, they weren't worried. It was just me going, oh, yeah. And I you know, when you just kind of it's so much and it's so exciting and terrifying. I remember just kind of leaving my body, just kind of leaving it and hoping that if I was lucky enough to win, that I would try to be pseudo articulate, not curse. Please, dear God, don't fall. And just remember who to thank. And all of this went out the window. We do get a little heads up that, you know, we have 30, 60 seconds or 90, something like that. So they said, if you do win and your name's announced, you can spend your time talking to people on the aisle.

And you can get up there. So if you go back and you look at my speech, I like all that. But like Bob Marley's like Claire, people trying to talk to me. It's like I got a long dress. I can't even walk in these shoes. And then you get up and there's not even a podium to hold on. There's this little, you know, acrylic with a mic. And I don't remember the entire world and community. I don't remember the rest of the night, except that. Oh, come on. It's it was a once in a lifetime event opportunity that I am just ridiculously grateful for. How does it change the trajectory of your career after that?

[55:00] Beth Leavel: It makes work a little easier. It makes you easier to get in the room because there's like the sentence that goes before your name. It's pretty much that moniker with a little registered R over it. Yeah. I mean, that opens some doors. It really does. People assume that I don't have to audition anymore, which is not true at all. And I actually I like I'm one of these people that don't really mind auditioning, particularly if I don't know the director. Yeah, let's get in the room. I want you if you're going to hire me. I want you really to hire me, not just because somebody said you have to see how we work and stuff like this doesn't apply to TV and film. They have no idea who I am, but in the theater world and like I'm getting ready to go do Mama Rose at the uni. I didn't have to audition for that. Isn't that nice that we love those? Yeah, I didn't have to audition for that. Thank you. Yeah, I didn't have to audition.

[56:47] Robert W. Schneider: Welcome back to Behind the Curtain, Broadway's Living Legends. Today, we have the incredible Beth Leavel with us.

[57:07] Beth Leavel: Thank you for having me! I'm so excited to be here.

[57:27] Kevin David Thomas: Beth, you have such an amazing career. You've been in so many iconic shows. What was it like for you to win the Tony Award?

[57:47] Beth Leavel: Winning the Tony was surreal. It felt like a culmination of all the hard work and dedication I had put into my craft. It was a moment I will never forget.

[58:07] Robert W. Schneider: And you’ve played such a variety of roles. Is there one that stands out to you as particularly special?

[58:27] Beth Leavel: Each role has its own significance, but I think playing the Drowsy Chaperone was a turning point for me. It was a role that allowed me to showcase my comedic timing and love for musical theatre.

[58:47] Kevin David Thomas: You’ve also been in shows like 42nd Street and Mamma Mia. How do you prepare for such diverse characters?

[59:07] Beth Leavel: Preparation is key. I dive deep into the character's background, motivations, and relationships. I also rely heavily on the director's vision and the collaborative process with my fellow actors.

[59:27] Robert W. Schneider: Speaking of directors, you've worked with some incredible people. Can you tell us about your experience with Casey Nicholaw?

[59:47] Beth Leavel: Casey is a genius. His energy and creativity are infectious. He has a way of bringing out the best in his actors and creating a fun, collaborative environment.

[1:00:07] Kevin David Thomas: You’ve also mentioned Mike Ockrent in the past. What impact did he have on your career?

[1:00:27] Beth Leavel: Mike was a mentor to me. He taught me so much about the craft and the importance of storytelling in musical theatre. His guidance helped shape my approach to performance.

[1:00:47] Robert W. Schneider: You’ve had such a rich career. Is there a moment that you cherish the most?

[1:01:07] Beth Leavel: I think the moments when I get to connect with the audience are the most cherished. There’s nothing like the energy of a live performance and the shared experience with the audience.

[1:01:27] Kevin David Thomas: You’ve also been involved in some newer works. How do you feel about the evolution of musical theatre?

[1:01:47] Beth Leavel: I love the evolution! It’s exciting to see new stories being told and fresh voices emerging. Musical theatre is always changing, and that keeps it vibrant and relevant.

[1:02:07] Robert W. Schneider: What advice would you give to aspiring performers looking to make their mark on Broadway?

[1:02:27] Beth Leavel: Stay true to yourself and your passion. Work hard, be persistent, and never stop learning. The journey is just as important as the destination.

[1:02:47] Kevin David Thomas: That’s great advice. Thank you so much for sharing your insights with us today, Beth.

[1:03:07] Beth Leavel: Thank you for having me! It’s been a pleasure.

[1:03:27] Robert W. Schneider: And thank you to our listeners for tuning in to Behind the Curtain. We’ll see you next time!